Emily Gibson - M.Arch Work Samples

Designs / Research / Mediums 2020 / 2023 PORTFOLIO

EMILY GIBSON

For last year’s words belong to last year’s language And next year’s words await another voice.

And to make an end is to make a beginning.

T. S. Eliot, “Little Gidding”

DESIGNS Inujima Leftovers Metamorphoses

4 12 18

RESEARCH Language Architecture Urbanism Education

24 26 32 38

MEDIUMS Select fabrications

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DESIGNS

no. 1

INUJIMA ECOCULTURE ISLAND with Dana Saari FALL 2022 | NANAKO UMEMOTO + JASMINE LEE SETO INL AND SEA, JAPAN

Inujima, Ecoculture Island introduces a sustainable energy and food production system that serves visitors during the island’s on-season art festival and exports during the off-season, for the goal of creating an environment at the intersection of nature, art and sustainability.

Inujima is an island of solid granite in the Seto Inland Sea of Japan. The first source of inspiration were the different erosion processes that happen naturally in granite. We looked at this geologic wearing away in three different scales: tafoni at the smallest scale, where water nestles into the surface and pushes outwards to create pockets and dense lattice-like patterns. Tidal pools are a slightly larger expression of this erosion, in which small pools catch and flood as the tide changes and become home to dynamic micro-ecosystems. Finally at the largest scale, we looked at granite boulders that are formed by wind and rain and result in large sculptural formations.

Introducing these textures onto the island created pockets that catch rainwater and tidal water. Water flows in its natural way, responding to gravity, wind, and sun. It responds to and Collaged master plan of eroded granite textures

4

influences the topography it runs through.

EMILY GIBSON

Inujima

Diagram expressing the forces of wind and water as they act on granite

5

DESIGNS

Gravity diagram of existing topographical conditions

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Gravity diagram of intervention on topography

EMILY GIBSON

Inujima

Existing conditions : island uses and circulation

Undeveloped zone Arts and culture zone Natural recreational zone Transportation zone Residential zone Intervention areas Interventions in use and circulation

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DESIGNS

Right: Diagrammatic representation of the systems at play on Inujima A: Tourism related to Setouchi Art Triennale B: Aquaponics yield C: Demand for geothermal heating and cooling D : Hydroponics yield E: Tidal energy

Below: Diagrammatic representation of the water cycle and points at which systems interact with the cycle

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EMILY GIBSON

Approach to the aquaponics facilities

Inujima

Art museum surrounded by landscape

Master plan of Inujima Island

Focus plan of the art museum and aquaponics facilities 9

DESIGNS

Speculative diagram of tectonic systems interacting with infrastructural systems 10

EMILY GIBSON

An organizational logic was extracted from the

seasons to respect the emphasis on seasonality

various scales of tafoni pockets to serve differ-

in Japanese cuisine. It also reflects the impor-

ent purposes on the island. These formations

tance of time and cycles of use that has been

then form a sort of organic grid that we apply

present on Inujima since the inception of the

to the site in order to create a dynamic circula-

Setouchi Art Triennale. The infrastructure of

tion into our focus area on the northwest side

the island can respond to the demands of the

of the island. By using different scales we are

influx of visitors to be self-sustaining during

able to create different levels of experience of

its on-season, and has the ability to export

the island.

goods during the off season.

As our project developed we became interest-

Dissecting and analyzing these processes in-

ed in introducing a secondary grid to contrast

fluenced how our tectonic system works in

with the organic site strategy. Further, because

tandem with the ecological systems. Heavy

our focus area is on a quarry site, the more or-

orthogonal structures are broken down with

thogonal geometry lends well to using the large

tafoni interruption. Paths come together and

blocks of granite that are cut from the island.

blend into one, but then diverge as distinct

Controlled geometries of hydroponic systems

moments. The topography itself flows with the

are intercepted by the looser evolution of ta-

paths, rising and falling so the experience of

foni expressions of artistic spaces.

the island can feel natural and explorative, and

The goal of these interventions is to be sustain-

with terracing that stretches around and over

able and compatible with the existing island

the buildings. The tafoni intervention accom-

infrastructurally, economically and ecological-

modates this topography by creating access

ly. Geothermal heating and cooling is utilized

points and different levels and a flow from in-

by using a standing column well to heat the

side to outside in the galleries.

Inujima

the buildings are embedded into the ground,

tanks used for onshore aquaculture farming of tilapia. Heat is gathered from the heat pump

The orthogonal terracing and buildings speak

exchange beneath the water table and brought

to the existing granite quarry landscape, while

up through pumps and piping to a radiant heat

the organic geometry reflects our site strate-

flooring system to heat the water and building.

gy and intervention, drawing from tafoni as a

About 95 % of water is able to be recirculated

type of granite erosion. We see this on multiple

in tilapia farming, but the remaining waste wa-

levels, both in the paths and zones that orga-

ter and solid waste generated will be sent to the

nize the whole island, as well as our focus area

aquaponics systems which the plants will use as

which brings a new program integrating both

nutrients to grow and clean the water. Harvest

art, science, food production, and landscaping

from the aquaponics will additionally be able

to an underutilized retired quarry.

to be used to feed the fish. Our aquaponics system will be operated seasonally, meaning that different crops will be grown during different 11

DESIGNS

no. 2

LEFTOVERS : WASTE TO ENERGY with Honor Weatherall SPRING 2022 | JUSTINE SHAPIRO-KLINE LONG ISL AND CIT Y, QUEENS

A design program primarily engineered for the machine needs the architect to protect the human scale. Our site on Vernon Boulevard is surrounded by urban dichotomies: the Queensboro Bridge and the New York Architectural Terracotta building, the Queensbridge houses and the morning shadows of the residential towers in Long Island City, Queensbridge Park and industrial parks. The site itself will contain an imperfect dichotomy between a waste to energy plant / recycling center and an urban farm / community center. The square footage is necessarily dominated by the former, but the experience remains filtered through the eyes of the latter. It is our desire to dignify the waste to energy process out of respect for the community it will serve and design. The site is located on the waterfront where framed views of Roosevelt Island to the West, Manhattan in the southwestern distance and neighboring Queens to the north and south can be found.

This organization can then inform pathways and openings; bringing the site back to the community and those who will inhabit it.

Dichotomy of programmatic needs 12

EMILY GIBSON

Riverfront facing elevation

Leftovers

South-north section through educational and working spaces as well as the waste to energy program 13

DESIGNS

A

FOOD

WASTE

BEFORE

AFTER

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EMILY GIBSON

B

C

Leftovers

Viewing platforms into the waste to energy plant from the community center (labeled a, b, c, in the section above) 15

DESIGNS

Royal Botanic Gardens, Kew, photograph by Honor Weatherall

Underbelly of the Queensboro Bridge, photograph by Honor Weatherall

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EMILY GIBSON

Formally, we were interested in exploring the

to Queensbridge Park, to find out more about

capacity of the arch to expand and retract ac-

why they chose to settle in Long Island City

cording to spatial requirements while keeping

to gain a better understanding of the commu-

with a language that is present in the site in the

nity and how best to serve it. Emilio had just

Queensboro Bridge approach to the river. Or-

moved to this neighborhood about six months

ganization of the program is divided into two.

ago from Corona he noted “the fact that it’s

The northern half is designed for streamlined

very central in Queens, the location, it’s just

truck delivery of waste to the site and the pro-

like, you can’t beat it. I’m close to Woodside,

cesses to handle the waste. The southern half

I’m close to Jackson Heights, Sunnyside - If I

prioritizes the human experience and, on the

wanna go to Brooklyn it’s right there and if I

street side, has a large and welcoming lobby

wanna go to Manhattan.” Brent lives “at the

while on the riverside one is greeted by an ur-

base of the Queensboro bridge, it’s all kind of

ban farm. This division of space is interrupted

luxury high rises and it doesn’t feel like there’s

at several nodes throughout the buildings by

a lot of space for community engagement, or

pathways that allow observation of the waste

for people to get together - this park is great,

plants at key moments in the processes as well

it’s a little bit of a walk though - there’s not

as integration of them into the community.

really anything like this over there - so I feel

Informing residents and other visitors of the

like this area could use things like that - spac-

waste treatment happening in their neighbor-

es where people can gather. It doesn’t feel like

hood is key to having a center worthy of the

how the more intimate neighborhoods of New

community. Access from the river connects our

York feel like.”

site’s riverfront to the Queensbridge park by

Leftovers

Honor and I conducted interviews with visitors

another elevated pathway and a clear line of After telling Kevin, another interviewee, about

vision to the green beyond.

the proposed waste to energy program he had this to say, “this area has a lot of families and a lot of kids as well - and so maybe having an educational component geared towards children is really helping ‘cause that brings children and their parents and they then have the park to play in - it could be really fun - ‘cause even when we walk down to the ferry, all families after 5 o’clock it’s like the dog parks are filled etc. - so maybe something geared towards kids and dogs.”

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DESIGNS

no. 3

METAMORPHOSES : ADAPTABLE HOUSING with Robin Piatt Stegman FALL 2021 | CARLOS ARNAIZ FARRAGUT HOUSES, BROOKLYN

Bridge Street

York Street

s en

ue

nQ kly oo Br ssw

pre

Ex ay Site plan expressing the building’s orientation to Farragut Houses and DUMBO, a gateway

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EMILY GIBSON

Metamorphoses

Adaptable housing shown at different life stages. Studios are separated from one bedrooms by a partition wall that can be opened up to make one large unit.

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DESIGNS

Above and right : structural study models

Above and left: origami studies of greenhouse’s folding mechanism

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EMILY GIBSON

Metamorphoses

Model detail at 1/32” : 1’ scale. Laser cut acrylic, wood, paper, and 3d print 21

DESIGNS

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EMILY GIBSON

Public housing should prioritize equity and

adjoined with a one bedroom, with separate

dignity for all of the residents who reside there.

entryways from the corridor. Within the units,

With this scheme, we intend to offer agency to

the central partition can be folded away, creat-

residents by providing them spaces that they

ing a larger three bedroom unit, with room to

can make their own--through transformation

reconfigure the individual spaces.

and cultivation within the greenhouses as well as the adaptability of the units to create ideal

Finally, in the context of Farragut, we want-

living spaces at each interval of life. This build-

ed the building to be inviting rather than im-

ing is meant to be a home and a gateway for the

posing. At 25 stories, it appears fairly tall next

community to connect the Farragut Houses to

to the other residences on the site. Therefore,

the urban fabric of Brooklyn.

with the slatted and glass facade design, we intend to let the building blend and disappear into its surroundings. In addition, despite its

gram, we knew that adding density to the site

height, we wanted to make it appear almost

would inevitably reduce available green space.

floating, employing a large, cantilever struc-

We wanted to address this by incorporating

ture. The structure itself is based around long

green space into the building’s design. How-

diagonal columns that cut through the build-

ever, since this is New York, where winter is

ing, anchored on two “legs.” Throughout the

long and cold and dark, we wanted to make

building, these diagonals add interesting and

sure that this green space was accessible all

varied moments as they pass through the units.

Metamorphoses

When considering the complimentary pro-

year round. The greenhouses that crawl up the side of the building have a folding mechanism

Adding a new building to a site as complex

within the panels, allowing them to accordi-

as Farragut is a delicate challenge. With this

on up. The green spaces are open air during

building, we hope to supplement the existing

the warmer months, but enclosed, and heated

facilities, create new ways for new and existing

gardens during the winter. With a multitude

residents to engage with green spaces, and re

of possible uses for the greenhouses, residents

imagine how the apartment can be designed to

would have agency in how they engaged with

place the needs and agency of the occupant at

and made use of the greenhouses--an agency

its forefront.

that is present in the physical form.

Agency and transformation extends to the units themselves. We want this building to be a place that families can comfortably call home for many years, but the needs of a family shift over time. Therefore, just as the greenhouse panels fold and move, so do the partitions within the apartments. All of the apartments in the building consist of a two bedroom unit 23

RESEARCH

DIRECTED RESEARCH L ANGUAGE + ARCHITECTURE + EDUCATION + URBANISM

Directed research

I like to think that I was introduced to archi-

I took the opportunity to continue my research

tecture through language. I have always loved

into language and its relationship to archi-

to read, and in another life I might have possi-

tecture during my graduate studies at Pratt.

bly been a reclusive writer or a hostess of a lit-

Language and cities are generally thought of

erary salon. My first serious dive into language

and written about as two great achievements

was an independent study in high school about

of humankind. What do we destroy when we

the beat generation of poetry. I was taken with

reconstruct the Tower of Babel? Is the conse-

this idea that each generation has their own

quence of this privilege and power ultimately

language. In my undergraduate studies I con-

loneliness? In the words of Jorge Luis Borges’

ducted a thesis on a later generation of poets,

steward of the unending Library of Babel: “if

the graffiti writers of 1970s New York. I ques-

an eternal traveler were to cross it in any direc-

tioned the authenticity of its continuation in

tion, after centuries he would see that the same

the present day in the form of murals, beauti-

volumes were repeated in the same disorder

fication, and community involvement. Painted

(which, thus repeated, would be an order: the

walls are ultimately a communication; between

Order). My solitude is gladdened by this ele-

public and private space, the voices of citizens

gant hope” (1964, 59). If the richness of biodi-

to the voices of architects, urban planners and

versity disappears, if the richness of languages

politicians that shape their city. The layering

fades into a singular global one, what happens

and ephemerality of art on the street is a tes-

to their architectures?

tament to the ever nascent identity of a city.

The biology and evolution of language, the trouble we have in thinking about it philosophically and the ease we have with using it as an analogy: all are aspects of language that play with each other and affect my way of understanding the role it plays in architecture and design. How do the implicit ways we think about language and ecosystems affect how we think about the possibilities of our city? Too often, our designs as architects are put out with a fair amount of research and a hope to serve a community, but without any real engagement with that community (without actually speak-

24

EMILY GIBSON

ing to them, asking them what they want). The result is architecture that is presumptuous and bound to get something wrong. It is imperative to try again.

Recognizing that architecture is ultimately a language and that language means communication. Communication is the key to all relationships and I believe that all design should start with an open and honest conversation.

It is important to understand what drives a client, as well as being in touch with my own

I am interested in the intersections of lan-

motivations. I am motivated by curiosity and

guage, architecture, urbanism and education.

creativity. I want to see a world that is more

Education is the key to freedom, and as bell

balanced, peaceful, and flexible. Architecture

hooks said, “to educate is the practice of free-

has an important role in the steps towards a

dom.” I have been so fortunate in my life to

more just and equitable society and it is my

have received a great education, and I began

goal to always be taking steps in the right

in graduate school to research inequalities in

direction. I am dedicated to serving my com-

education, especially in the public education

munities not just through design but by giv-

system in New York City. Through experiences

ing time and resources to other lifelines: green

working as a teaching assistant at the Consor-

spaces, youthful spaces, and spaces where dem-

tium for Research and Robotics and an elec-

ocratic dialogue occurs.

tive study at Pratt on the public school system I was able to learn more about students’ experiences and provide resources to technology and introduce relationships between the students and mentors.

I think a lot about what makes a good teacher and student. Autonomy, collaboration and critical thinking, but above all communication is key to creating engaging and inspiring relationships. How to have uncomfortable conversations, how to speak to someone different from yourself, these are important lessons often learned in school. Not to mention everything we learn in languages unspoken.

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RESEARCH

no. 4

CANTOS : A HOUSE FOR POETRY FALL 2020 | PETER MACAPIA GOVERNORS ISL AND, NEW YORK

The transformation of house to studio is based on two poetic qualities: rhythm and structure.

Respectively equated with line and mass, I explored these concepts architecturally. My study began with the existing interior divisions and exterior envelope of the house. I kept these footprints as guides for the transformations to come. I altered the structure of the building with variations in massing of the envelope. I interrupted the rhythm by inserting apertures of my own line and light on the facade.

The program was inspired by the historical tradition of performance of the word in amCantos

phitheater spaces. I designed my own vision of an amphitheater, formed by the ideas surrounding the mythic circle. The central space takes up the entirety of the house, but the cyclical line is freed from expectation when it reaches the threshold of the envelope. There, the line is free to move. The lines become gaps and let the light in. Light becomes the unifying quality, the anaphora that spreads within and without. My treatment of the site follows a similar language of following existing contours and altering by subtleties. The rectilinear components that the ground has been translated to are reminiscent of the same interior divisions that I began the project with, and follow the elevation changes of the land, creating a landscape that is navigable while remaining A phono-graphic representation by Marcel Broodthaers of Stephen Mallarme’s “Un Coup de Des”

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open to interpretation.

EMILY GIBSON

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RESEARCH

Eastern elevation

Cantos Southern elevation

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EMILY GIBSON

Interior, left: exterior

Model detail at 1/8” : 1’ wood, charcoal powder stain, foam base

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RESEARCH

no. 5

WHERE WE LIVE, WHERE WE LEARN FALL 2022 | REBECCA KRUCOFF | CAN SUCUOGLU

Where we live, where we learn 30

EMILY GIBSON

31

RESEARCH

Where we live, where we learn

Ingersoll Houses off Myrtle Avenue

Brooklyn brownstones on Adelphi Street

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EMILY GIBSON

Entry to Fort Greene Preparatory Academy

Compass Charter School

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RESEARCH

no. 6

EDUCATION : HEADWAYS SPRING 2021 | JAMES GARRISON SUNSET PARK, BROOKLYN

Average student commute (miles)

Headways >3 2.5-3 2-2.5 1.5-2 1-1.5 <1 SCHOOL

Map made with QGIS software expressing the average student commute times for schools in five districts in Brooklyn

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EMILY GIBSON

Conceptual diagram of the school’s location in Sunset Park in regards to accessibility

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RESEARCH

(a)

Conceptual diagram of three scales (a) urban (b) school, (c) classroom

Headways Circulation diagram

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(b)

(c)

EMILY GIBSON

Mindful of the many walks of life that students in the public school system in New York come from, I wanted to create an architectural

F

F

sequence for a middle school in Sunset Park that did not impose a path for the students

F

but rather offered them multiple paths and let

F

them make their own most efficient, entertaining, or social able way through the building.

E

F

I designed three main ways of moving throughout the building—weaving in and out of the D

C

programmatic requirements and encouraging students to go their own way. If we want our spaces to inspire us, we need the autonomy to move through them freely.

B During my explorations with the sequence of circulation — I refined the program to frame perspectives that lend themselves to an episodic experience of the building. The buildings

A

opens itself up on the inside to the natural

A- Gymnasium

Main stair

light without, and interior elements respond

B- Auditorium

Secondary Stair

to one another. The resulting spaces are most

C- Cafeteria

Fire stair

simply delineated as solids and voids, and the

D- Library

interstitial spaces that the circulation carved

E- Art

from them. The scheme drew inspiration from

F- Classrooms

the many scales of the city, how they may be interpreted and represented. Especially in how one student may navigate them.

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RESEARCH

no. 7

WOMEN, EDUCATION, AND AGRICULTURE: REBUILDING UKRAINE with Allison McBrearty, Shuai Liu, and Nicolas Schlegel

Educational Residential Agricultural

Rebuilding Ukraine

Diagrammatic master plan of educational platform with residential and agricultural components

The educational modules serve to keep education accessible in times of conflict, residential modules provide housing for families or for students who find themselves alone, and the agricultural modules will be a source of skills learning and economic growth for Ukrainian women. They will be able to cultivate traditional agricultural techniques in the greenhouses and learn new technological skills as well as grow food in the vertical farms. Women will be able to establish economic independence for themselves, their families, and their communities by participating in ownership of the vertical farms. The education, independence, and empowerment women gain will contribute in immeasurable ways to the rebuilding of Ukraine.

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Detailed plan

EMILY GIBSON

Section through conjoined educational modules, large and open spaces, as well as spaces for small children result

Section through stacked agricultural modules

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RESEARCH

ES 22

Ukraine is known as the breadbasket of Europe, and the reason for this is due to its high concentration of chernozem “black earth” soil

ES 23

which has 10% more organic matter than other soils, contributing to IT 22

higher fertility. Almost half of all of Ukrainian exports are agricultural, but these exports were diminished by half since the start of the

IT 23

Russian invasion. The decrease has millions more worldwise suffering from food insecurity, the global numbers are more than double what

NL 22

they were in 2019. In response to the global food insecurity that the NL 23

war in Ukraine has fuelled, the United Nations sponsered the Black Sea Grain Initiative which put three out of thirteen ports back in

PT 22

operation with specific routes to be protected. However, this initiative has been only partially successful because low income, devolping

PT 23

countries receive the least amount of grain putting already vulneraGB 22

ble communities even more at risk.

Rebuilding Ukraine

GB 23

SD 22

SD 23

LB 22

LB 23

ET 22

ET 23

AF 23

1,000,000

40

500,000

4,000

AFGHANISTAN

YEMEN

SUDAN

AF 22

LEBANON

YE 23

ETHIOPIA

YE 22 -8

3 Population Growth Rate (%)

2

17 Unemployment Rate (%)

8

65 Secondary Education Rate (%)

69

97 Gross Domestic Product (millions)

EMILY GIBSON

MASSING

UNIT TYPE

UNIT NUMBER

SITE BOUNDARY

PUBLIC ROUTE

CLIMATE DATA

Our studio’s goal was to create a modular educational platform that could be ordered and shipped wher-

LOCATION

MODULE

ever it was needed. Understanding the variables that respond to different users’ and sites’ needs was a crit-

FACTORS

ical component in designing for the organization and connection of the modules on site. To the left is a visual

CONNECTIVITY

DENSITY

VISIBILITY

AGRICULTURE

SUN HOURS

ORIENTATION

representation of two Grasshopper scripts, constructed by our resident Grasshopper expert, Shuai Liu. The

DAYLIGHT ANALYSIS

PRIVACY ANALYSIS

WEIGHTING

idea is that users’ would input their needs based on the number of people they expect to serve and information

ITERATION 1

ITERATION 2

ITERATION 3

ITERATION 97

ITERATION 98

ITERATION 99

about the site for the script to then run a series of operations that results in many different iterations of the modules organization and orienta-

DATA GENERATE & EXPORT

tion on site. These can be weighted to prioritize either daylighting or pri-

IMPORT DATA

vacy, two parameters that we identified as having a critical importance

FILTER BY : SUNLIGHT

GROUPING

PRIVACY

towards shaping the modules’ orga-

DENSITY

nization. The data generated from the first script is then exported to an FILTERED ITERATION 1

FILTERED ITERATION 2

FILTERED ITERATION 8

FILTERED ITERATION 9

excel sheet and imported back into a second script that lets the user visualize the different iterations and filter

UI

by prioritizing sunlight hours, privacy, grouping, or density. It is then up to them to decide on a final iteration

DESIGN SELECTION

and the corresponding modules to be shipped out to meet them.

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MEDIUMS

HEART OF GLASS

no. 8

SPRING 2023 | URBAN GL ASS

General assembly 1 1

1

G

F

F

flame 2

2 2

F

F

6-7-8 connection 6 6

6

A B

8 7

flame

7-8-7B connection (C)

7

G

C

G

8

7B

G Flame worked glass ribcage

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EMILY GIBSON

Select fabrications

Kiln formed, open face mold

Passage of light through the rear side

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MEDIUMS

no. 9

TABLE SETTING SPRING 2023 | URBAN GL ASS

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EMILY GIBSON

From a single glass dining plate to a vessel, this study in cold working glass was a transformation of singular elements to create a whole greater than the sum of its parts. The vessel was formed from both additive and subtractive processes and simple geometrical transformations.

Select fabrications 45

MEDIUMS

no. 10

PLACENTA SPRING 2022 | EMILIJA L ANDSBERGIS

As the lines blur between mother and child in the anatomical structures of pregnancy, so the lines blur between inside and outside in double skin facade architectural systems. Studying the two together results in rich poetical and structural comparisons.

The technology of a double skin was developed to add another layer of protection for the internal environment from the external climate.

It creates a more comfortable space to be in while requiring less energy to do so. The space between inside and outside is neither here nor there, defined by being in between. Might this space be expanded to play additional roles?

The womb protects and nurtures the baby throughout pregnancy. The placenta acts as the interstitial space between mother and child, delivering nutrients to the baby from the mother’s bloodstream and taking away its waste. The placenta forms from attaching itself to the mother’s uterine wall and the baby’s umbilical cord arises from it. I was inspired by this layered organ and the applications to architecture that may arise from studying its formation and functions as they may apply to double skins. Some consider the placenta an “alter ego;” that every baby may be considered a twin. People have buried their placenta next to trees, or held it around their waist throughout their lives. It is a sort of shadow presence, Anatomical layers 46

yet all important to our lives.

EMILY GIBSON

Select fabrications

Slip cast fabrication study of an abstract pelvic bone

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MEDIUMS

Contour diagram of slip casted form

Formal development from original slip cast

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EMILY GIBSON

Select fabrications

Large scale fabrication

Detail of corner condition 49

EMILY GIBSON 2023